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Michael Kamen's X-MEN (2000) - 2021 2-CD Expanded Original Soundtrack from La-La Land Records


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X-MEN: EXPANDED LIMITED EDITION SOUNDTRACK (2-CD SET) LLLCD 1504 Music by Michael Kamen Limited Edition of 3000 Units RETAIL PRICE: $29.98 STARTS SHIPPING MAY 11   Order yours sta

Why did they get rid of the name pun?

Nice! Seriously tempted to get this; I've been wanting to hear the main title music as Kamen originally recorded it. I wonder if this set will include Kamen's score with and without the Klaus Badelt overdubs, as well as any cues that Badelt specifically composed.

 

Since Kamen's name is the only one on the poster, I'm guessing "probably not"

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11 hours ago, Corellian2019 said:

Nice! Seriously tempted to get this; I've been wanting to hear the main title music as Kamen originally recorded it. I wonder if this set will include Kamen's score with and without the Klaus Badelt overdubs, as well as any cues that Badelt specifically composed.

 

Since Kamen's name is the only one on the poster, I'm guessing "probably not"

 

I've actually found a promo with a lot of Badelt's contributions for the score. Several being presumably the demos he had submitted for consideration of being hired for the full gig, but a lot of it also being his original overlays for some of Kamen's cues. Turns out that the final edits of these tracks use the additions very differently, often removing and repurposing some of the more egregious parts in areas.

 

I actually wonder if some of the electronic work could be Kamen's, given there's a couple of bits and pieces on the supposed "film mix" leak that don't show up on the promo. It's also likely that Badelt simply has refused to post his full body of work for the film, as he doesn't seem to have acknowledged the project on later iterations of his website.

 

KB's name wasn't on the front of the original OST either, since his official credit on the score wasn't as an additional composer. While I see him being listed on the album for "electronic drums" (not credited within the film itself, it seems), I thought I saw something about him being some form of synth programmer somewhere.

 

I really do hope this is the unaltered Kamen score, as while the Badelt add ons don't bother me too much, I figure the end result likely could be improved without them being present. We'll just have to see what the tracklist and final set ends up being. Hopefully some discussion in the booklet about the production history of the music and the source master for the release.

 

EDIT: So the official credit for Klaus on the album is "Additional Electronic Percussion." Anything about him being a music/synth programmer is just people misremembering. I'm wondering if there is an odd legal reason for Badelt to only be credited in this manner.

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17 minutes ago, Stark said:

I’m hoping this release has a Kamen-intended program followed by the Badelt-altered cues - I really want to hear which electronics were actually chosen by Kamen.


Same. The manipulated Mystique motif was one I always was curious about, since it's particularly distinct from the techno oriented Badelt stuff. Especially when the OST version of the Museum Fight cue does feature it unmodified, when the film version keeps it altered.

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Also, if anyone wants to get a good idea on how much of a clusterfuck things were with the score, here's 4m6c in its various forms:

The original written cue:


Badelt's (presumably) initial additions to the track:

Final film edit:

 

(Given I can't find any other YT upload of the proper OST track, I might post the relevant section of the album if need be.)

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Two posts from Neil in the FSM thread

 

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I'm going to guess that this release is one of the titles MV usually talks that took forever to get approved. It's quite the gap between this and X-2.

In the time it took to get approved a new disease and the vaccine were unleashed to the world.

 

 

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So was the OST just Kamen's music or did it include contributions by Badelt?

I bet this will all be explained in these CD liner notes!

 

I'll explain it here. The legal cue sheet for the film credits every single original X-Men cue to Michael Kamen.

 

https://filmscoremonthly.com/board/posts.cfm?threadID=143827&forumID=1&archive=0

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Can't say I'm particularly surprised, since I don't think any of Badelt's proper compositions made it in full. Every bit of his presence is just there to spruce up Kamen's work.

 

Do they normally answer questions regarding its contents and the masters they used ahead of release? Because I do remember them reacting to a comment on the initial Superman LLL announcement from FB regarding if it used a new source, but I'm not sure if that is the norm for them.

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People like Neil, MV, Mike, and Jeff Bond posts comments in the FSM forums before the titles are actually out all the time, yea

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I guess we will all have to be a bit moderate what to expect here - Kamen's done some good work (Die Hard etc.), but learning that Bruce Babcock did the legendary Hollywood Boulevard track in Lethal Weapon and that Don Davis did a lot of the good stuff in Robin Hood makes me a bit worried.

 

The K-Men theme is fine but the rest of the score is forgettable. If there is somehow a Kamen score out there that does a symphonic job, I rest my case, but I fear this will be another one of those 'classic' K-Man action opuses like Company Business or Renegades or Road House or Blue Ice.....scores that no one will ever listen on their own.

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I don’t think there was much missing from The Last Stand, thankfully (aside from the main title). All the other good moments are on the OST, and not even microeditted if I’m not mistaken.

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13 hours ago, Jay said:

That's a post-2005 US recorded score won't be expanded till the rules change

 

And yeah it'd only come from Varese 

I'm sure it has been explain many times here before but I was wondering how this rules really works cause I understand that the post-2005 OSTs can't be expanded but what about the Gia's Star Trek or Powell's Solo and HTTYD? Those have been expanded even if they came out after 2005.

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26 minutes ago, May the Force be with You said:

I'm sure it has been explain many times here before but I was wondering how this rules really works cause I understand that the post-2005 OSTs can't be expanded but what about the Gia's Star Trek or Powell's Solo and HTTYD? Those have been expanded even if they came out after 2005.

Powell did those, probably ate the cost or something.

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1 hour ago, May the Force be with You said:

I'm sure it has been explain many times here before but I was wondering how this rules really works cause I understand that the post-2005 OSTs can't be expanded but what about the Gia's Star Trek or Powell's Solo and HTTYD? Those have been expanded even if they came out after 2005.

 

Here's Mike's explanation again

 

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For AFM recordings made before July 3, 2005, NO reuse needs to be paid to the musicians at all, provided a) that it’s for a physical format release with a 5000 unit maximum, and b) that the musicians list is published, preferably in the packaging. For recordings made after that date, whatever the musicians were paid to record the score for the film has to be paid to them again, 100%. That’s why it’s called “reuse”. They were paid to play music for sync purposes, but an album is a new use.

 

So, hypothetically, if 120 people were paid $360,000 to record the music for the film (musicians, orchestrators, copyists, at an average of $3K a person), then a label would have to pay that exact same amount to AFM in order to put out an expanded album. That makes it impossible to consider even before you get to licensing, publishing, production and manufacturing.

 

The 2005 date was established in 2015 and applied to recordings going back 10 years prior, but unfortunately it was not a “sliding” date as it really should have been.

 

Mike

 

For Gia's Trek trilogy, it seems that Varese, Paramount, and the Union worked out a special deal to make it happen.  For HTTYD, I'd imagine something similar?  HTTYD's OST was so much longer, there was less "new" music to pay for for that one (the demos weren't performed by union musicians, of course)

 

Solo was recorded in London.  This AFM issue has nothing to do with it.

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55 minutes ago, Stark said:

I don’t think there was much missing from The Last Stand, thankfully (aside from the main title). All the other good moments are on the OST, and not even microeditted if I’m not mistaken.

 

I'm pretty sure the complete score runs about an hour and 33 minutes, so there's more unreleased music than you think.

 

Yavar

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6 minutes ago, Jay said:

 

Here's Mike's explanation again

 

 

For Gia's Trek trilogy, it seems that Varese, Paramount, and the Union worked out a special deal to make it happen.  For HTTYD, I'd imagine something similar?  HTTYD's OST was so much longer, there was less "new" music to pay for for that one (the demos weren't performed by union musicians, of course)

Many thanks and sorry for the repetition ;)

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4 hours ago, Yavar Moradi said:

 

I'm pretty sure the complete score runs about an hour and 33 minutes, so there's more unreleased music than you think.

 

Yavar

I’ve heard the complete score as well, but I just don’t recall much in there that was must-have. Still want it because I want everything though!

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Well this will be on their website for sale 24 hours from now, and I am surprised we still know nothing of its contents.


I figured they would have debuted the hero shot / splash art / whatever you call it style image by now, or that some Kamen or superhero themed website would have debuted the tracklist by now or something.

 

I guess we won't know the tracklist until the email that goes out in the middle of the night arrives tonight, and no hero shot until after it's already for sale.

 

Oh well.

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Ya. I normally don't anticipate LLL releases this much, so I wasn't sure if the lack of details up to the lead up of the release is normal. Can't help but feel a bit apprehensive about it, as the amount of mystery towards what it's gonna be adds further pressure in terms of my expectations of it. It'll leave me a bit underwhelmed if it is just the boot officially pressed, but then I figured we would've already known that if that were the case. If it wasn't for the amount of delays leaving them a bit ill-prepared regarding its announcement, I'd almost say the lack of info currently is deliberate.

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99% of LLL releases, we never know the tracklist until the email newsletter that goes out in the middle of the night just before release day.  That's standard procedure.

 

The major exception is the Black Friday titles, where they reveal the track lists right away simultaneously with revealing the titles themselves.

 

But other exceptions happen from time to time.  For example, JWFan debuted the Minority Report tracklist before the newsletter here.   The Planetary Union website revealed the Orville Season 1 tracklist before the newsletter here.  Stuff like that.  I figured there'd be an exception for X-Men too, but I guess not.  Or maybe no website asked!

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My goodness! This is so much better than I could've ever imagined. Everything being so thorough to the point the album section is even condensed. @The_Trout likely isn't kidding when she said that this probably is a score we largely haven't heard before.

The interesting thing about this track list is not just the original presentation of the music, but also the inherent implications some of the extras entail. Namely that the cues labeled as "film constructs" might just be pieces that were made in the editing room. I always assumed that the main titles was a track that was written for the film, but it looks like it isn't! So there are straight up chunks of the score that Kamen didn't write, and that's fascinating to me.

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Wow, that looks really great!  So thorough, I love it!

 

One curiosity though, the blurb suggests that X-Men's score paved the way for Unbreakable's score... but with X-Men opening in July 2000 and Unbreakable in theaters in November 2000, isn't it likely JNH would have already conceived the essence of the score, even if it wasn't recorded yet, before he would have had a chance to hear this score?

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This was a movie I watched repeatedly on VHS at the very end of the VHS era, but I don't feel like I remember much of the score.  I'll check out the samples later today and see if I get any Proustian flashbacks

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9 hours ago, HunterTech said:

 I always assumed that the main titles was a track that was written for the film, but it looks like it isn't!

 

Yeah, that's the "film construct" track that caught my eye; I wonder which cues were used from elsewhere in the score

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There are some curiosities in the track list that will hopefully be answered in the liner notes!

 

For "Final Showdown", the "Film Mix" is in the main program while the album mix is on disc 2.  Yet for "Cerebro" and "Magneto Stand Off", the "Film Mix" is on disc 2, while the album mix is in the main program.

 

For "Death Camp" and "Museum Fight", the "Film Version" is in the main program while the album versions are on disc 2.  Yet for "Helicopter Hijack", "Train", "Kelly Dies", "Xavier Falls", "Jean Uses Cerebro", "Land of Tolerance", "The X-Jet", and "Logan Holds Rogue", the "Film Version" is on disc 2 while versions with no parentheticals are in the main program.

 

I'm sure there is smart and well-informed reasoning behind all these programming decisions, and I can't wait to see what they are!

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5 hours ago, Jay said:

One curiosity though, the blurb suggests that X-Men's score paved the way for Unbreakable's score... but with X-Men opening in July 2000 and Unbreakable in theaters in November 2000, isn't it likely JNH would have already conceived the essence of the score, even if it wasn't recorded yet, before he would have had a chance to hear this score?

 

That particular blurb stood out to me because X1 doesn't sound anything like Unbreakable or Batman Begins. Especially since the former score only really has the beat in the main theme to qualify as an electronic element, plus some ambient textures in areas. For X1 itself: the final form of the score is filled with too much messy 90s techno (that probably was added thanks to The Matrix) for it to remind me of subsequent contemporary superhero scores.

 

That being said: given those light touches that I mentioned, it could be feasible for JNH to add those elements after watching X-Men, given that a large part of the score would've been orchestral anyway. So maybe as a means of touching up the sound for what is supposed to be a more realistic take on the superhero genre. Guess we'll have to see if the booklet clarifies that comparison.

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Here's the hero shot

 

 

185129472_10159905873738755_719855957180

 

Click to embiggen

 

I like how they have the good guys on one disc and the bad guys on the other.  Yet Toad doesn't make the cut! (He's on the front cover though).

 

I'm sure when this project began life, it had the older 20th Century Fox logo instead of the 20th Century Studios logo

 

Can't wait to read Jeff's liner notes

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